American graphic Design 1940s

Alex Steinweiss and the process of reasoning from one paradigm to the design of album covers  August 29, 2013 – 00:01
Brooklyn Museum: Vital Forms: American Art and Design in the

Summary: At the end of the nineteenth century, the dialogue between the visual arts and music opened precedents for the applied arts, or business, would encourage the consumption of the musical show. In parallel with the technological development of the music industry, the music has to be recorded and marketed. The marketing of recorded music, in turn, was also buoyed by an interest to explore up a visual connection with the contents of the recording. In 1940, this interest was manifested directly by American graphic designer Alex Steinweiss, when he began designing album covers 78rpm discs for Columbia Records. Steinweiss was not the first commercial artist or graphic designer to design an illustrated cover for albums 78rpm discs but when designing covers, pioneered the intention to pursue a semantic correspondence with the musical content of the discs. This thesis has as main objective the recovery of the main historical and cultural conditions that helped characterize the work of Steinweiss and he was enabled successfully incorporated the music industry. Through the lifting of such conditions and also of the design method Steinweiss, it was observed that provided the success establishing a paradigm in that the solutions proposed by him were then taken as template and rules substituted force for the graphic design of the covers of record albums. Abstract: By the end of the nineteenth century, the dialog between visual arts and music was a great influence on the applied arts, or commercial arts, in its own task of Promoting the music spectacle. Meanwhile, with the technological development of the music industry, music started to be recorded and commercialized. The recorded music business, moved by its own interests, also explored the visual connection with the recorded musical content of their product. In 1940, the early work of the American graphic designer Alex Steinweiss was a consequence of this interest, the he started to design album covers for 78rpm records while working at Columbia Records. Steinweiss was not the first commercial artist or graphic designer to design illustrated album covers for 78rpm records, but he was the first one who expected to Achieve semantic correspondence with the musical content of the record. The main goal of this thesis is to retrieve key historical and cultural conditions influenced que Steinweiss' work and allowed him to succeed as a graphic designer inside the recorded music business. By doing so, and by setting up aspects of Steinweiss' design methods, we have come to the Conclusion que his success Characterized the paradigm. The solutions he Offered were taken as models and Replaced the rules que determined how an album cover Should be designed.

Source: www.bibliotecadigital.unicamp.br


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